본 논문은 미술비평계가 2000년대 이후 끊임없이 반성과 성찰을 요구하는 ‘미술비평의 위기’의 실상을 알아보고자 하는 시도이다. 우리 사회 일각에서도 미술비평 무용론이 60년대 이후 간간히 있어왔지만, 미술비평의 위기가 문제의식으로 전면적으로 부각된 것은 2005년 한국미술평론가협회가 『미술평단』에서 비평의 위기를 그 해의 특집으로 다루면서 부터이다. 『미술평단』의 많은 논문들은 미술비평 위기의 원인을 큐레이터의 영역확장에서 찾았다. 본 논문은 『미술평단』의 바로 이러한 문제의식으로부터 출발하여 미술비평이 무엇이며, 미술비평의 위기가 무엇인지 과연 그러한 현상이란 있는 것인지 되물어 보고자 하는 시도이다. 기실 미술비평 위기에 관한 이러한 논의의 대부분은 미술비평 자체의 위기에 관한 것이라기보다는 ‘미술비평가’의 위기에 관한 것들이라는 것을 밝히고자 한다. 따라서 본 논문은 우리사회가 비평의 위기를 이해하는 방식을 비평해 봄으로써 비평의 영역과 역할 그리고 비평 본연의 가치를 재고해 보고자 한다.

The technique of using the perspective of the "The Others" has been used continuously after modernity, in order to draw a more in depth image of one self. The other cannot be positioned without positioning the self and our own subjectivity because the self is more well defined through the other. Like the unquestionable 'Cogito' of Decartes, without a foundation of the self, 'other' cannot be established. The unquestionable 'Cogito' of Decartes, and problems of the subjectivity or problems of 'other' in East Asian society have close relations westernization and sharing western ideas of modernity. Image of ourselves after modernity cannot escape from 'orientalism' which divide the world into the occident and the orient. Modernity of the west was a process of developing a paradigm of life different from the medieval period, and also discovering properties of themselves through "otherising" the East. Therefore for the West, modernity becomes a continuous arena for overcoming paradoxes of their own. However for many North East Asian countries, modernity is a rupture. The text examines how different methods of two different backgrounds tackle the issues regarding "The Others"- works of Eastern and Western contemporary artists, Yang Fudong and Isaac Julien.

본 연구에서는 음이온교환막 개발에 관한 것으로 poly(ethylenimine) (PEI) / poly(vinyl alcohol) (PVA)의 혼합비율에 따라 막을 제조하였다. 제조된 막의 특성화를 평가하기 위하여 함수율, 접촉각, FT-IR, 이온교환용량, 이온전도도, 열 중량분석, 탄성계수 측정을 실시하였다. 이온전도도 측정 결과 PVA/PEI의 함량이 90 : 10으로 제조된 막의 경우 5.16 × 10 -2 S/cm의 값을 나타내어 우수한 음이온전도도를 나타내었으며 접촉각 측정 결과 PEI의 함량이 증가함에 따라 막표면의 소수성이 78.3℃까지 함께 증가하는 결과를 나타내었다. 또한 열에 대한 안정성은 PVA의 우수한 성질을 변화시키지 않았으며 탄성계수 측정을 통해 고강도 기계적 물성을 확인할 수 있었다.

The term “philosophizing art” was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol’s pop art appeared in New York after 1960’s, which could not be explained by traditional concept of “representation”. As Danto said “the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions,” it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book “philosophizing art," in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol’s Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned “if we can not distinguish Brillo box’s artistic aspects visually from other factory-made products, how can we distinguish art from non-art,” By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as ‘end of art’ and ‘philosophizing art’ which Danto used to explain inner aspects of art.